SPECIAL  EXHIBITION  CATALOGUE 


Series  1913;  No.  8 10  Cents 


I RHODE  CLAND  1 
SCHOOL  OF  I 
—DESIGN—  li 

s ■ 


CITY  ART  MUSEUM 
OF  ST.  LOUIS 


A COLLECTION  OF  CONTEMPORARY 
GERMAN  GRAPHIC  ART 


OPENING  APRIL  9,  1913 


GALLERY  PLAN  OF  FOREST  PARK  ART  BUILDING 

Tlie  EshiJ.ition  (.f  Uonteniporary  German  Graphic  Art  is  installed  in  Galleries  25,  2G.  30  and  31,  as  indicated  hy  cross  (X)  marks. 


The  city  art  museum  is 

OPEN  TO  THE  PUBLIC, 
FREE,  EVERY  DAY, 
INCLUDING  SUNDAYS, 
FROM  TEN  O^CLOCK  A.  M. 
UNTIL  FIVE  O’CLOCK  P.  M. 


SPECIAL  EXHIBITION  CATALOGUE. 


Series  1913;  No.  8 


THE 

CITY  ART  MUSEUM 
ST.  LOUIS 


AN  EXHIBITION  OF  CONTEMPORARY 
GERMAN  GRAPHIC  ART 


With  an  Introduction 
By  MARTIN  BIRNBAUM 


OPENING,  APRIL  9,  1913,  IN  GALLERIES 
25,  26,  30  AND  31  IN  THE  WEST  WING 


1874 


1913 


THE  CITY  ART  MUSEUM,  ST.  LOUIS 


ADMINISTRATIVE  BOARD  OF  CONTROL 

William  K.  I^ixby 

President 

William  H.  Lee 

Vice-President 

Daniel  Catlin 
David  R.  Francis 
Max  Kotany 
Edward  Mallinckrodt 
Charles  Parsons  Pettus 
Samuel  L.  Sherer 
Thomas  H.  West 


R.  A.  Holland 
Director 

Madeleine  Borggraefe 

Secretary 

E.  E.  A.  Curley 
Curator 


CONTEMPORARY  GERMAN  GRAPHIC  ART 


INTRODUCTION  BY  MARTIN  BIRNBAUM 

An  exhibition  of  drawings,  lithographs,  etchings,  and  wood- 
cuts  by  German  artists  ought  naturally  to  prove  far  more 
stimulating  than  one  made  up  of  paintings,  for  even  if 
we  go  back  as  far  as  Diirer  we  will  be  forced  to  admit  that  his 
paintings  are  not  as  refreshing  or  impressive  as  his  graphic  works, 
and  the  same  is  true  of  practically  all  the  great  German  mas- 
ters, with  the  possible  exception  of  Menzel  and  Leibl.  Germany’s 
artistic  genius  has  always  been  distinctly  graphic,  and  while  it 
is  impossible  to  survey  the  whole  existing  field  at  all  exhaustively 
within  the  limits  of  a short  essay,  one  can  without  delay  com- 
mence with  the  names  of  the  three  great  living  leaders,  Max 
Klinger,  Hans  Thoma,  and  Max  Liebermann,  who  tower  above 
their  compatriots. 

The  first  of  these  shook  off  the  fetters  of  authority  and 
pedantry,  carried  on  the  traditions  of  the  early  German  master- 
etchers  and  engravers,  and  saved  the  Graphic  Arts  of  his  country 
from  the  slough  of  despond  into  which  it  threatened  to  fall. 
Klinger  is  not  unacademic,  his  techniciue  is  at  times  labored  and 
old-fa.shioned  in  a good  sense,  but  he  revived  and  stimulated 
interest  through  the  sensational  nature  of  his  works,  which  cover 
a vast  range  of  subjects.  When,  in  1878,  he  first  exhibited  at 
the  Academy  in  Berlin  he  was  voted  insane,  but  to-day  his 
amazing  cycles  of  etchings  are  accepted  as  immense  dramas  or 
epic  poems.  Had  he  written  blank  verse,  he  would  have  been 
an  important  literary  figure.  He  inherited  a solemn,  antique 
grandeur  mixed  with  modern  romanticism  from  Bocklin,  and 
varied  influences  of  the  Greeks,  Diirer  and  Rops,  are  traceable  in 
his  work.  A grotesque  element  which  never  becomes  ridiculous, 
is  reminiscent  of  Goya,  and  although  it  would  be  futile  to  com- 
pare his  philosophic  works  with  the  wild  Spaniard’s,  the  influ- 
ence of  the  Caprichos  cannot  be  ignored.  The  extent  of  Klinger’s 
work  is  colossal, — almost  unbelievable, — and  yet  his  attention 
to  minute  detail  hurts  the  general  effect.  His  graphic  work  and 
paintings  have  this  in  common,  that  the  decorative  borders  and 


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The  City  Art  Museum,  St.  Louis 


ornamental  frames  are  frequently  more  interesting  than  the 
pictures  they  bound,  and  his  delight  in  using  colored  marble 
and  metal  for  his  plastic  work  detracts  from  a harmonious  impos- 
ing effect.  Everything  he  does,  however,  is  intellectually  and 
aesthetically  stimulating,  and  if  he  is  at  times  too  profound  and 
psychological,  too  much  the  visionary,  his  many-sided  art  must 
nevertheless  be  recognized  as  the  inspirer  of  a throng  of  brilliant, 
eager  men. 

Franz  von  Stuck,  an  allied  nature,  is  also  indebted  to  Bocklin, 
but  he  has  shown  only  the  slightest  interest  in  Graphic  Art, 
whereas  Klinger’s  most  personal  expressions  are  not  his  paintings 
or  statuary  but  his  etchings.  The  technique  and  cerebral  quality 
in  these  appeal  to  such  men  as  Otto  Greiner  and  Erich  Wolfs- 
feld,  whose  gigantic  plates  are  among  the  artistic  sensations  of 
the  present  day.  Among  others  of  this  group,  Fritz  Hegenbart 
is  musical  and  whimsical,  while  Amandus  Faure,  Paul  Burck, 
Walter  Rehn,  and  Josef  Uhl  are  fantastically  inventive.  The 
last-mentioned  is  a New  Yorker  by  birth,  who  is  still  in  the  transi- 
tional stage,  but  he  has  already  executed  some  fine  portraits 
in  the  manner  of  the  distinguished  and  lamented  Stauffer-Bern. 
Occasionally  these  men  are  attracted  only  by  the  bizarre  in 
Klinger’s  work.  This  is  a regrettable  tendency,  for  it  may  degen- 
erate into  morbidity  and  an  abnormal  conception  of  life.  Hor- 
rible situations  often  please  them,  they  lack  repose  and  cultivate 
eccentricity,  so  that  the  only  consoling  thought  which  comes  to 
mind  is  the  recollection  of  Delacroix’s  epigram,  “Donnez  moi 
de  la  boue,  je  vous  ferai  des  chefs  d’oeuvres.”  Perhaps  they  are 
even  now  at  work  on  masterpieces.  It  is  a relief  to  turn  from 
such  examples  of  their  work  to  the  lithographs  of  Ludwig  von 
Hofmann,  another  pagan,  who  is  the  happy  interpreter  of  eternal 
youth  and  beauty.  His  delicate  dancing  nymphs  and  fauns,  so 
charmingly  described  by  Hugo  von  Hofmannsthal,  exert  an 
universal  appeal.  Exquisitely  printed,  they  will  do  much  to 
rehabilitate  the  good  name  of  Lithography,  by  leading  people  to 
distinguish  between  the  artistic  and  the  commercial  kind. 

No  greater  contrast  can  be  offered  to  the  work  we  have  just 
been  considering  than  the  lithographs  and  etchings  of  Hans 
Thoma.  His  tranquil,  unpretentious  art  owes  much  to  Leibl 
and  that  little-known  master  Victor  Muller.  It  is  redolent  of 
the  atmosphere  of  the  beautiful  Black  Forest,  where  he  was  born 

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An  Exhibition  of  German  Graphic  Art 


seventy-three  years  ago.  One  learns  with  surprise  that  he  went 
to  Paris  in  1868,  for  Thoma  is  so  characteristically  German  that 
one  can  hardly  believe  that  he  ever  left  the  Fatherland.  Yet 
he  was  the  first  German  to  discover  Manet — for  the  special 
benefit  of  Leibl.  His  lithographs,  many  of  which  are  symbolistic 
or  religious,  were  inspired  by  a desire  to  bring  genuine  art  within 
the  reach  of  thin  purses.  His  drawings,  like  the  man,  are  power- 
ful and  clear,  sincere  and  fine,  and  they  possess  high  spiritual 
excellence  quite  apart  from  their  artistic  merit.  The  good  old 
wrinkled  farmers,  and  the  scenes  of  their  wholesome  common- 
place lives,  the  land  in  which  fairy-tales  flourished,  and  the  poetry 
of  rugged  country  life,  are  his  favorite  themes.  Every  contem- 
porary artist  who  depicts  German  peasantry  is  influenced  by  his 
fine  example,  and  all  are  inconceivable  in  any  other  country. 

Fritz  Bohle  is,  if  possible,  even  more  German  than  Thoma 
himself.  Artistically  speaking,  he  is  a direct  descendant  of 
Diirer,  and  his  lithographs  of  sturdy  brewers,  saints,  and  plough- 
men with  magnificent  horses,  are  sculptural  and  monumental. 
He  is,  in  fact,  now  at  his  home  in  Sachscnhausen,  busy  with 
plastic  works  on  a colossal  scale.  The  spirit  and  power  of  his 
pictures  remind  us  of  the  distinguished  Swiss  artist  Hodler, 
though  technically  there  is  hardly  any  point  of  similarity. 

Thoma  also  influenced  an  interesting  and  significant  group  of 
men  who  abandoned  their  city  studios  and  made  their  homes  in 
Worpswede,  a typically  German  village  situated  on  the  edge  of 
the  moors  not  far  from  Bremen.  Fritz  Mackensen  discovered 
the  artistic  possibilities  of  the  place  in  1884,  and  in  succeeding 
years  he  was  joined  by  Otto  Modersohn,  Hans  am  Ende.  Fritz 
Overbeck,  and  finally,  in  1894,  by  BTeinrich  Vogeler.  They 
enjoyed  themselves  hugely,  worked  in  the  open  air,  skated, 
sketched,  and  hunted,  became  sons  of  the  soil,  took  an  active  part 
in  the  life  about  them,  married,  built  homes,  and  lived  simple 
lives.  In  1895  their  combined  collected  work  created  a mild 
sensation.  Heinrich  Vogeler,  the  youngest,  most  versatile,  and 
most  poetic,  is  now  devoting  practically  all  his  time  to  Graphic 
Art,  but  his  beautiful  home,  “Barkenhoff,”  is  filled  with  examples 
of  his  work  in  all  media,  including  several  delightful  tapestries 
and  interesting  pieces  of  furniture.  We  love  him  best,  how- 
ever, as  the  prolific  etcher  of  wild  flowers  and  trembling  silver 
birches,  German  music  and  romance,  childish  myths,  and  as  a 


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The  City  Art  Museum,  St.  Louis 


tasteful  book-decorator  with  a deep  love  of  nature  and  a pretty 
fantasy  reminding  us  at  times  of  Walter  Crane.  No  spirit  is  so 
jaded  that  it  will  not  respond  to  the  blithe  spirit  of  the  lark 
which  breathes  through  the  mass  of  his  work. 

It  is  natural  to  find  many  men  who  are  in  some  artistic 
way  affiliated  with  those  just  mentioned,  and  one  of  them, 
Leopold,  Graf  von  Kalckreuth,  displays  the  characteristics  of 
the  best  German  artists.  He  shows  sensitive  portraits,  idyllic 
landscapes,  and  figures  which  remind  us  of  the  Barbizon  men. 
Here,  too,  we  may  speak  of  Paul  Baum,  who  seems  to  us  to  be 
one  of  the  most  richly  endowed,  an  etcher  whose  sympathies  are 
with  these  quieter  spirits,  but  whose  technique,  not  unlike  Sig- 
nacs, is  impressionistic.  We  find  a beautiful  rhythm  in  his  line, 
fine  balance  in  bis  composition,  purity  and  sincerity  in  his  feel- 
ing, a keen,  refined  vision  combined  with  modern  methods.  The 
line  particles,  drawn  on  the  divisionist  principle,  take  the  place 
of  the  impressionist  color  particles,  and  are  intelligently  varied. 
His  talented  pupil  Erna  Frank  shows  little  of  his  technical 
influence  in  her  sparkling  lithographs  of  European  capitals.  There 
may  also  be  grouped  with  these  a host  of  gentle,  smiling  plates 
by  such  men  as  Hermann  Struck,  whose  fine  Jewish  studies  won 
favor  with  many  distinguished  collectors  when  his  work  was 
first  shown,  and  who  now  adds  some  American  scenes  in  which 
the  right  note  has  been  happily  caught ; the  interesting  landscapes 
of  Robert  Scholtz;  Cissarz’  exquisite  dry-points;  Alexander 
Olbricht’s  fresh  and  original  views  of  his  neighbors’  gardens  in 
winter;  and  lastly  the  technically  beautiful  plates  of  Peter 
Halm,  whose  marvelous  copies  of  old  masters  have  overshadowed 
his  power  as  an  original  artist. 

Professor  Max  Liebermann  is  the  last  of  the  giants,  and  his 
famous  motto,  “Zeichnen  ist  Wcglassen,”  is  the  watchword  of 
the  latest  generation  of  artists.  He  is  of  the  encouraging  race 
of  men  that  dares  to  think  of  progress  on  certain  new  lines  even 
after  a Michelangelo,  Phidias,  or  Da  Vinci  passes  away.  His 
inimitable  drawings  have  the  energy  and  audacity  of  masterful 
youth,  and  in  his  latest  paintings  the  character  and  impetuosity 
of  the  first  studies  are  fortunately  preserved ; but  there  are 
still  discriminating  critics  who  prefer  the  drawings,  lithographic 
studies,  and  etchings  of  boys  bathing,  Jewish  ghettos,  horse- 
races, polo  games,  and  pig-sties  to  his  final  painted  works.  He, 
of  course,  adores  Menzel ; but  Degas,  whom  the  little  German 


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An  Exhibition  of  German  Graphic  Art 


HANS  THOMA 

SELF-PORTRAIT 


An  Exhibition  of  German  Graphic  Art 


master,  strangely  enough,  could  not  understand,  is  his  deity. 
Examples  of  both  their  works  hang  on  the  walls  of  Professor 
Liebermann’s  beautiful  home  on  the  shore  of  the  Wannsee.  Pie 
discovered  Degas — who  may  have  introduced  him  to  the  Japanese 
masters — about  the  year  1873,  when  he  went  to  Paris  shortly 
after  the  Franco-Prussian  War.  On  his  return,  he  transferred 
the  artistic  centre  of  Germany  to  Berlin,  of  which,  according  to 
Meier-Graefe,  he  is  the  symbol.  Liebermann  is  simple  and  mat- 
ter-of-fact, free  from  his  early  sentiment,  concise  to  austerity, 
almost  icy  in  his  wit.  Like  our  generation  he  moves  so  rapidly, 
that  there  is  no  time  for  a method  like  Menzel’s.  The  little 
giant  copied  faithfully  and  minutely,  leaving  the  artistic  result 
more  or  less  to  chance.  Liebermann  never  leaves  anything  to 
chance.  Natuie  must  yield  to  his  temperament  and  conception, 
and,  being  a modern  virtuoso,  he  prefers  media  which  are  deli- 
cate and  swift.  His  pastels  and  lithographs  achieve  the  fairy- 
like exquisiteness  of  Whistler  and  of  our  still  unknown  master, 
Robert  Blum.  He  worships  at  the  shrine  of  Degas  the  draughts- 
man, and  not  Manet  the  painter,  and  we  can  bestow  no  higher 
praise  on  him  than  by  stating  that  his  mastery  is  comparable  to 
the  Frenchman’s.  To-day  he  is  recognized  as  Germany’s  national, 
conscious  artistic  tradition.  The  genius  of  all  the  younger  artists 
seems  to  run  in  his  direction,  and  there  exists  an  army  of  bril- 
liant German  draughtsmen  who  can  attack  wdthout  fear  or 
exertion  problems  which  would  strike  terror  to  our  sober 
American  artists.  Their  strength  often  becomes  unruly  and 
chooses  passionate  themes  which  are  too  fervid  for  our  con- 
ventions and  tempered  enthusiasm,  but  their  sincerity  compels 
our  belief.  A man  like  Max  Slevogt  puts  us  to  shame  by  choos- 
ing as  the  source  of  inspiration  for  a vast  series  of  lithographs 
our  own  James  Fenimore  Cooper’s  forgotten  works.  The 
pages  glow  with  life  and  vigor  and  virility.  Their  charm 
of  rapid  execution  and  their  fugitive  manner,  so  admirably 
suited  to  the  medium,  are  fascinating,  and  this  foreigner  has 
caught  again  and  again  the  spirit  of  the  work  in  a truly  amazing 
fashion.  Even  the  initials  are  noteworthy,  and  such  a book,  com- 
parable in  certain  respects  to  Menzel’s  monumental  “Frederick 
the  Great,”  ought  certainly  to  arouse  our  dormant  creative 
energies.  Slevogt  has  already  produced  etched  work  equally 


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The  City  Art  Museum,  St.  Louis 


brilliant,  impressions  which  strike  the  essential  note 'of  any  scene 
he  chooses  to  depict.  His  work  is  printed  at  the  “Pan  Presse” 
in  Berlin,  a printing  establishment  in  which  all  the  men  are  artists. 
Reinhold  Hoherg,  the  director,  is  himself  an  etcher  and  litho- 
grapher of  more  than  ordinary  ability.  The  press  is  still  in  its 
infancy,  hut  already  it  is  recognized  as  a worthy  successor  of 
the  famous  magazine  “Pan,”  which  was  an  effort  to  organize  all 
branches  of  art.  Lack  of  publicity,  the  costliness  of  the  publi- 
cation, disputes  among  its  associates,  and  perhaps  its  intellectual 
programme  and  didactic  aim,  killed  it.  It  is  to  he  hoped  that  this 
new  enterprise  will  receive  more  encouragement.  Besides  hooks 
containing  lithographs  by  IVIax  Beckman  and  Louis  Corinth, 
earnest  artists  of  wild  inspiration  and  almost  brutal  masculine 
power,  the  press  has  produced  a volume  by  Emil  Pottner,  in 
which  the  text  and  illustrations  are  all  printed  from  stone. 
Other  publications  of  exceptional  interest,  about  to  appear,  are 
the  graphic  works  of  three  great  sculptors;  Wilhelm  Lehmhruck, 
whose  etchings,  like  Rodin’s,  are  masterly  little  revelations  of 
his  conception  of  form ; Ernst  Barlach,  the  wood-carver,  who 
is  like  a powerful  Gothic  shade  come  to  life;  and  August  Gaul, 
an  animal-sculptor  who  threatens  to  dethrone  Barye.  Rccently 
the  press  issued  a portfolio  of  etchings  by  Willi  Geiger  dealing 
with  life  in  the  hull-ring.  This  young  artist,  at  one  time  a 
pupil  of  Franz  von  Stuck  and  Peter  Halm,  was  not  satisfied  with 
making  studies  as  an  onlooker : he  must  needs  become  a matador 
and  take  part  in  the  fight.  His  remarkable  works,  superb  in 
their  realism,  were  evidently  done  “right  off  the  hat,”  yet  the 
skill  in  placing  upon  the  plate  could  hardly  he  improved  upon. 
He  has  caught  actions  of  a moment’s  duration  like  a magician. 
The  works  were  carried  out  with  such  intensity  that  no  apology 
need  he  offered  for  their  creation,  even  after  the  existence  of 
Goya’s  “Tauromachia.”  Geiger  might  he  taken  as  a type  of  the 
most  promising  young  German  artist.  He  is  only  thirty-four 
years  old,  and  already  manv  portfolios  of  etchings  and  book- 
plates have  issued  from  his  studio.  His  studies  with  Professor 
Halm  insured  a firm  foundation,  hut  Geiger,  like  most  other 
youthful  rev^olutionists,  began  by  claiming  to  he  immune  from 
affectation,  convention,  monotony,  and  morality.  In  their  desire 
to  impress  themselves  on  the  world  as  personalities,  these  fiery 


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An  Exhibition  of  German  Graphic  Art 


young  men  shout  until  they  are  a trifle  hoarse,  refuse  resolutely 
lo  tone  down  their  passions,  play  pranks  with  their  ability,  insist 
to  the  point  of  fanaticism  on  themes  with  an  erotic  tinge,  and 
finally  quiet  down  to  produce  work  of  lasting  \alue.  Fortunately 
they  remain  delightfully  undisciplined,  attack  every  subject  and 
medium,  and  constantly  refuse  to  work  in  narrow  fields.  Hans 
Meid,  a gifted  man  of  rare  temperament  and  curious  technique, 
who  has  executed  famous  series  of  etched  illustrations  for 
Shakespeare’s  “Othello”  and  for  “Don  Juan”;  Wilhelm  Galhof, 
whose  brilliant  lithographs'  show  woman  unfortunately  only  in 
her  debasement ; and  Max  Mayrshofer,  a wayward,  promising 
draughtsman,  are  in  this  circle,  which  is  very  large. 

A whole  school  of  gifted  artists  have  revived  an  interest  in 
woodcuts.  The  delicious  colors  and  attractive  subjects  ought 
certainly  to  interest  our  American  connoisseurs.  It  is  encour- 
aging to  note  that  they  all  recognize  the  limitations  of  the 
medium  and  confine  themselves  strictly  to  essentials.  The  method 
is  Japanese,  hut  the  colors  are  modern,  often  borrowed  from 
the  palettes  of  Van  Gogh  and  Gaugin.  We  may  make  especial 
note  of  Walter  Klemm,  an  alluring  artist  whose  subjects  range 
from  skating-rinks  to  birds  and  flowers;  Emil  Pottner,  a specialist 
in  entertaining  philosophic  farmyard  studies;  Arthur  lilies  and 
Heine  Rath,  whose  obviously  beautiful  works  exert  an  instanta- 
neous appeal,  being  well  drawn  and  glowing  in  color;  Emil  Orlik, 
some  of  whose  prints  will  be  mistaken  for  Oriental  products, 
and  who  is  even  now  sojourning  among  the  Japanese;  Gerhard 
Graf,  a quiet,  hidden  worker,  whose  varied  talents  ought  to  win 
recognition ; Martin  Philipp,  a many-sided  artist  whose  complete 
works,  we  hope,  will  be  collected  and  seen  here;  and  Charlotte 
Rollins,  a woman  with  a rare  feeling  for  color  and  a charming 
sense  of  design.  She  is  only  one  of  many  talented  women,  like 
Annie  Lowenstein,  a successful  experimenter  in  colored  etching, 
and  Kiithe  Kollwitz,  who  have  made  splendid  names  for  them- 
.selves  as  original  artists.  The  last  named  deserves  a monograph 
to  herself.  This  charming,  simple  little  gray  lady  lives  with  her 
husband,  a physician,  among  the  poor  people  of  Berlin,  and 
devotes  her  life  to  ministering  to  their  wants.  No  one  would 
suspect  that  these  works  were  made  by  feminine  hands.  To  find 


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The  City  Art  Museum,  St.  Louis 


a parallel  we  must  read  the  tragedies  of  Hauptmann.  Up  in  the 
North  there  is*a  remarkable  painter,  one  Einar  Nielsen,  whose 
works  breathe  a similar  spirit.  The  tragic  pathos  of  sunless 
lives,  their  depressing  sorrows  and  struggles  with  poverty,  their 
cheerless  homes,  disease  and  death,  are  depicted  with  tremendous 
authority  and  loving  sympathy.  Among  the  cherished  treasures 
of  the  great  cabinet  of  engravings  in  the  Berlin  IMuseum  is  a 
complete  set,  in  all  states,  of  her  really  marvelous  and  poignant 
works.  Men  like  Arthur  Kampf,  president  of  the  Royal  Academy 
of  Art  in  Berlin,  have  worked  in  the  same  genre  but  hardly  with 
equal — certainly  with  no  greater — power. 

Drawings  quite  antithetical  to  these  are  furnished  by  the  great 
humorist  weeklies,  “Die  Jugend”  and  “Simplizissimus,”  the  con- 
tributors to  which  are  also,  as  a rule,  distinguished  decorators 
of  printed  books.  These  men  have  mastered  French  methods 
of  simplification,  and  have  been  students  of  Beardsley  without 
losing  their  individuality.  Marcus  Bchmer  has  just  shown  a 
representative  collection  of  his  curious  etchings,  drawings,  and 
lithographs  in  New  York.  Justice  can  hardly  be  done  to  such 
men  by  showing  a few  examples  of  their  work,  for  they  are 
immensely  versatile.  Thomas  Theodor  Heine  has  made  a name 
for  himself  in  connection  with  the  Hyperion  Verlag  in  Alunich, 
and  also  as  a painter  and  as  a sculptor,  but  he  is  still  drawing 
occasionally  for  journals,  and  there  is  no  goal  which  he  may 
not  reach.  Olaf  Gulliransson  has  been  the  witty  star  of  “Sim- 
plizissimus” for  so  many  years  that  few  know  he  is  a native  of 
Christiania ; and  Emil  Preetorius,  who  has  also  been  with  the 
Hyperion  Verlag,  is  already  claiming  a unique  place.  Alastair’s 
exotic  women,  amusing  and  technically  strange,  suggesting 
Beardsley  in  form  and  Bakst  in  color,  and  a satire  on  “Life 
and  Death”  by  Georg  Hermann  Gelbke,  may  here  be  mentioned. 
All  of  these  men  know  how  to  mix  piquant  French  absinthe  with 
their  stein  of  Miinchener. 

From  these  it  is  natural  to  pass  on  to  the  latest  phases  of 
art — cubism,  nco-  and  post-impressionism,  futurism,  expression- 
ism, etc. — which  seem  to  be  fast  gaining  ground  in  all  European 
countries.  We  shall  be  surprised  to  find  that  Lyonel  Feininger, 
one  of  the  most  interesting  men  of  this  school,  is  a New-Yorker. 


14 


An  Exhibition  of  German  Graphic  Art 


MAX  KLINGER 

FROM  A PHOTOGRAPH  BY  PERSCHEIl) 


An  Exhibition  of  German  Graphic  Art 


He  emigrated  to  Germany  in  1887,  began  his  career  as  a musician, 
and  still  plays  Bach’s  organ  preludes  when  he  is  not  etching. 
In  Paris,  where  he  may  be  said  to  have  found  himself,  he 
exhibited  with  the  Independents,  and  he  retains  the  wit  and 
humor  of  his  early  weekly  contributions  to  the  “Chicago 
Tribune,”  which  may  still  be  remembered.  His  ancient  engines 
have  a curious  human  interest,  but  the  weird  perspective  and 
primitive  methods  which  remind  us  of  Henri  Rousseau  and  again 
of  Picasso,  will  arouse  a storm  of  criticism.  Moriz  Melzer,  Max 
Pechstein,  Artur  Segal,  Franz  Marc,  H.  Richter-Berlin,  Georg 
Tappert,  and  a host  of  others,  belong  to  the  German  futurists  who 
air  their  revolutionary  doctrines  in  Walden’s  “Sturm”  and  that 
extraordinary  magazine,  “Der  Blaue  Reiter.”  They,  too,  are 
influenced  by  the  French  and  Italian  ultra-moderns,  but  some  of 
their  barbaric  subjects  and  color  harmonies  are  not  extreme. 
They  are  ridding  their  works  of  “thought,”  and  depend  solely  on 
line  and  color.  Often  their  effects  are  produced  by  exaggeration, 
but  Michelangelo  and  Daumier  resorted  to  the  same  means. 
Pechstein’s  “Somalitanz,”  to  single  out  an  example,  seems  to  us 
peculiarly  felicitous  and  amusing.  Kandinsky  we  frankly  fail  as 
yet  to  understand,  but  we  hesitate  to  sneer,  for  a survey  of  these 
anarchistic  works  only  impresses  us  with  the  freedom  of  art  in 
our  day.  Germany  is,  after  all,  artistically  a youthful  country, 
full  of  vitality  and  promise,  without  centuries  of  cultivated 
tradition  behind  her,  like  France;  and  now  that  the  doctrines 
of  Severini  and  other  Italian  futurists  are  being  accepted  in  the 
land  of  Chodowiecki  and  Rethel,  no  one  can  say  whither  the 
movement  may  lead.  Merely  to  hurl  shafts  of  cheap  ridicule  at 
new  work  is  easy  enough,  but  to  prove  conclusively  that  it  is 
silly,  or  even  grotesque,  is  not  so  simple.  Art  has  been  defined  as 
exaggeration,  as  omission,  or  as  self-expression.  These  passion- 
ate young  aspirants,  who  seem  capable  of  doing  anything,  argue 
cleverly  and  brilliantly  that  their  art  answers  not  one  but  all  these 
requirements  and  definitions.  They  claim  that  they  are  hounded 
because  they  consistently  avoid  and  despise  prettiness.  At  any 
rate,  they  are  enjoying  themselves  hugely,  and  perhaps  these 
strange,  enigmatic  pastimes  are  preludes  to  great  and  unexpected 
developments.  We  are  not  sufficiently  conservative  to  deny  them 
their  possibilities  and  privileges,  for  these  reckless  descendants 


17 


The  City  Art  Museum,  St.  Louis 


of  Menzel  have  only  just  begun.  Violent  agitation  and  conflict 
with  tradition  cannot  in  the  end  result  in  much  harm,  and  may 
do  good.  To  make  critics  and  public  rail  like  madmen  is  in 
itself  an  achievement.  It  remains,  however,  to  be  seen  whether, 
having  rediscovered  a few  important  principles,  and  having 
attracted  attention,  they  can  avoid  the  pitfalls  of  the  usual  danger, 
propagandism,  and  can  bear  in  mind  the  principle  of  relativity 
of  values.  You  cannot  safely  glorify  Picasso  and  forget  Ingres, 
or  hail  Van  Gogh  and  ignore  Leonardo. 

Martin  Birnbaum. 


Thanks  are  due  to  Dr.  Otto  Michael 
of  Berlin,  through  whose  kindness  this 
exhibition  has  been  made  possible. 


18 


An  Exhibition  of  German  Graphic  Art 


ARTISTS  AND  TITLES 

ALASTAIR  (Pseudonym) 

1 Eleanoha  Duse.  Hand-colored  Print 

2 Lady  with  the  Cane 

BARLACH,  ERNST 

3a-d  “Der  Tote  Tag.”  Lithographs 

BAUER,  KARL 

4 Beethoven.  Lithograph 

5 Goethe  as  a Boy 

BAUM,  PAUL 

6 Dutch  Village 

7a  Landscape  with  Church  Tower 
b Village  Street 

8 St.  Anna,  Holland 

BECKMANN,  MAX 

9 Eurydikes  Wiederkehr  von  Johannes  Guthmann 

With  nine  lithographs  by  Max  Beckmann 

10  Lithographic  Illustrations  for  the  New  Testa- 

ment 

BEHMER,  MARCUS 

11  Arion.  Etching 

12  Alexander  Olrricht 

13  The  Javanese  Doll 

14  Book-plates 

15a-d  Etchings  for  Voltaire’s  “Zadig” 

331  Voltaire 

332  Flowers 

333  The  Funeral  Pyre  of  Mme.  Almona’s  Widowhood 


19 


The  City  Art  Museum,  St.  Louis 


BOHLE,  FRITZ 

16  Washing  Horses.  Lithograph 

17  Feierarend 

BULOW,  AGNES  VON 

18  Moxt-Parnasse 

BURCK,  PAUL 

19  Dance  of  Death.  Introduction 

20  The  Train 

21  The  Moi^ntain-climher 

22  The  Earthquake 

BUTTNER,  ERICH 

23  Sunlight  through  the  Trees 

24  The  Artist  Nitsciie 

25  Ciiii.i)  Resting 

26  In  the  Park 

CISSARZ,  J.  V. 

27  A YoT'NG  Bearded  Man 

28  Ex  Lirris 

29  The  Harror  Smithy 

30  The  Port  of  F()hr 

31  Ex  Lirris 

32  The  Windmill 

CLAUSS,  BERTHOLD 

334  Crows 

335  H a:m  ru  rg-Bl  a n kenese 

336  A R E N 1 )U  N TER  II A LTl  ^ N G 

337-339  Book-plates 

COHN,  META 

340  The  Larch  Forest 

341  OCTORER  IN  THE  TyROL 

CORINTH,  LOUIS 

33  The  Pig-sty 

34  Mother  and  Child 

35  “Das  Buch  Judith.”  With  twenty  lithographs  in 

color  by  Louis  Corinth 

36  “Das  Hohe  Lied.”  With  twenty-six  lithographs  in 

color  by  Louis  Corinth 


20 


An  Exhibition  of  German  Graphic  Art 


ENDE,  HANS  AM. 

37  The  Hut  on  the  Moou 

FAURE,  AMANDUS 

38  The  Tight-hope  Walkek 

39  Bahentanz 

FEININGER,  LYONEL 

40  Cart^8Selplatz 

41  The  City  at  the  End  of  the  World 

42  An  Old-timer 

43  Old  Locomotive 

44  The  Disparagers 

45  The  Gate 

46  The  Rising  Sun 

47  Montimartre 

FISCHER,  OTTO 

48  Island  in  the  Elbe 

49  Weisswassergrund 

FRANK,  ERNA 

50  Moltkebrucke 

51  WlTTENBERGPLATZ 

52  Notre  Dame 

53  Rue  des  Grands  Augustins 

GABLER,  ERNST 

342  The  Crossing 

343  The  River 

GALLHOF,  WILHELM 

54  Der  Backfisch 

55  The  Auditorium 

56  Nude 

57  The  Animal-taimer 

58  The  Handmaidens 

GAUL,  AUGUST 


344 

Sheep 

■ 

345 

Penguins 

346 

Condors  and  Ibis 

347 

Sheep  Resting 

.1/:. 

CT 

348 

Goats 

>!• 

349 

Ostriches 

■ Z 

21 


The  City  Art  Museum,  St.  Louis 


GEIGER,  WILLI 

60  Death 

61  Ex  Libris.  Six  examples 

62  From  the  cycle  “Liebe” 

63  From  the  cycle  “Ltebe” 

64  Scandal 

65  The  Bull-fight 

66  The  Bull-fight 

67  The  Bull-fight 

68  The  Bull-fight 

69  Self-portrait 

GELBKE,  GEORG  HERMANN 

70-73  From  the  cycle  “Life  and  Death’’ 

74  Tug  of  War 

GEYGER.  ERNST  VON 

75  Affen  disputation 

76  The  Marabu 

77  Toilette  of  the  Elephants 

GRAF,  GERHARD 

78  Sans  Souci 

79  Rot HEN BURG 

80  Rothenburg 

81  Wood-ny:\iph 

GREINER,  OTTO 

350  The  Dance.  Lithograph 

351  Siegfried  Wagner.  Woodcut. 

352  Ulysses  and  the  Sirens.  Lithograph  in  Colors 

353  Gany.mede.  Etching 

Courtesy  of  H.  E.  Stoehr,  Esq. 

354  An  Max  Ki.inger.  Lithograph 

Courtesy  of  R.  Ederheimer,  Esq. 

GROSSMANN,  RUDOLF 

83  Berlin  und  Umgegend.  A portfolio  of  lithographs 

GULBRANSSON,  OLAF 

84  Three  Aristocrats 

85  B.jornson 


22 


An  Exhibition  of  German  Graphic  Art 


HALM,  PETER  ’ 

86  Reiciienau 

87  The  Chapel  in  the  Field 

88  The  Danube  at  Waltenburg 

HAUG,  R. 

355  The  Seconds 

356  In  Memokiam 

HECKENDORF,  F. 

357  The  Open-air  Restaurant 

HEGENBART,  FRITZ 

89  The  Struggle 

90  Prepared  for  Flight 

91  The  Dew-drinker 

HEINE,  THOMAS  THEODOR 

92  The  Social  Question 

93  Panic 

94  Germania  in  the  Wood 

HOBERG,  REINHOLD 

95  Stormy  Landscape 

96  Brother  Tramps 

HOFMANN,  LUDWIG  VON 

97-105  The  Dance 

ILLIES,  ARTHUR 

106  Nasturtiums 

107  Fog  on  the  Elbe 

108  Fly-orchid 

JAHN,  GEORG 

109  Bohemian  Goose-girl 

110  Washing  Horses 

KAISER,  RICHARD 

111  The  River-bank 

KALCKREUTH,  GRAF  LEOPOLD  VON 

112  The  Gleaners 

113  Anglers 

114  Sei-f-portrait 

115  Woman  Leading  a Cow 

116  Kunzelrau 


23 


The  City  Art  Museum,  St.  Louis 


KAMPF,  ARTHUR 

117  Les  Halles 

118  The  Stroll  on  the  Beach 

119  Adoration  of  the  Shepherds 

120  Convalescent 

KANDINSKY 

121  Co^iPosrnoN  No.  4 

KAPPSTEIN,  CARL 

123  Winter 

124  The  Swan-pool 

KAUL,  AUGUST 

358  Hamruhg:  Fleet 

359  The  Windmill 

KLEIN-DIEPOLD,  LEO 

125  Old  Woisian 

KLEMM,  WALTER 

126  Pelican 

127  Sea-swallow 

128  Ducks 

129  Swimming  Ducks 

130  Bluefinches 

KLINGER,  MAX 

131  Landscape,  Chiemsee 

OVID 

132a  Title-page 

133b  Invocation 

134c  Pyramus  and  Thishe 

135d  Pyramus  and  Thishe 

136e  The  Lion 

137f  The  Meeting 

138g  The  End  of  the  Song 

1391i  Intermezzo 

140i  Narcissus — Echo 

141j  Narcissus — Echo 

142k  Intermezzo 

1431  Apollo  and  Daphne 

145  Apollo  and  Daphne 

145n  Apollo  and  Daphne 

146o  Ovid 


24 


An  Exhibition  of  German  Graphic  Art 


FROM  THE  CYCLE  OF  “EVE  AND  THE  FUTURE” 
147a  Eve 
148b  The  Future 
149c  The  Future,  II. 

FROM  THE  CYCLE  “DEATH” 

150a  Night 
151b  The  Fishermen 
152c  The  Sea 
153d  The  Road 
154e  The  Child 
155f  Herod 
156g  On  the  Tracks 
157h  The  Poor 

KOLLWITZ,  KATHE 

158  Without  Work 

159  Head  of  a Wovian 

160  A Woman 

161  Death  and  the  Woman 

162  Riot 

WEBERAUFSTAND 

163a  Want 
164b  Death 
165c  Consultation 
166d  The  Rioters 
167e  The  Seizure 
168f  The  End 

PEASANT  REBELLION 

169a  Title 

170b  The  Scythe 

171c  Arming 

172d  The  Plough 

173e  Field  of  Massacre 

174f  After  the  Battle 

175g  Prisoners 

KUHNE,  WALTER 

176  The  Royal  Palace,  Berlin 

360  On  the  Coast 

361  Birches  . . ♦ 


25 


The  City  Art  Museum,  St.  Louis 


LEDERER,  FRITZ 

177  Girardis 

178  Self-portrait 

179  Paul  Wegener,  the  Actor 

180  Portrait  of  a Lady 

LEHMBRUCK,  WILHELM 

181  The  Dance 

182  Bashful  Girl 

183  Three  Wo]\ien 

184  Cleopatra 

185  Mother  and  Child 

186  Reclining  Nude 

LIEBERMANN,  MAX 

187  Shepherdess  Knitting 

188  Girl  with  a Cow 

189  Child  in  a Cradle 

190  Boys  Bathing 

191  The  Beer-garden 

192  Mother  and  Child 

193  A View  of  the  Ghetto 

194  The  Alster,  Hamburg 

195  The  Race-course 

196  Self-portrait 

197  Street  in  Zaandvoort 

198  Goats  Grazing 

199  Hollandisches  Skizzenbucii.  Text  von  Oscar  Bie 

LOWENSTEIN,  ANNIE 

200  Street  in  Vannes 

201  The  Promenade 

202  The  Old  Port 

203  The  CafI*: 

204a  The  Market-place  in  Dresden 
204b  The  Market-place  in  Dresden 

MARC,  FRANZ 

205  Horses 


MAYRSHOFER,  MAX 

206  The  Idiot 


26 


An  Exhibition  of  German  Graphic  Art 


MEID,  HANS 

207  Cakriage  at  the  Door 

208  The  Fountain 

209  Don  Juan’s  Farewell 

210  Nocturne 

211  Circus  IV. 

MELZER,  MORIZ 

212  The  Queen  and  Her  Poet 

213  The  Shot 

214  Shades 

215  Two  Against  One 


MOLLER.  OTTO 

216  The  Market 

NOLDE,  EMIL 

362-364  Three  Lithographs 

OLBRICHT,  ALEXANDER 

217  The  Little  Garden  in  Winter 

218  The  Large  Garden  in  Winter 


ORLIK,  EMIL 

219  Scene  from  “Michael  Kramer” 

220  Hermann  Bahr 

221  Market  in  Gradek 

222  Portrait  of  Hodler 

223  A Woman  Seated 

224  Resting  in  the  Hills 

PAESCHKE,  PAUL 

225  Concert  in  the  Lustgarten 

PAULSEN,  INGWER 

226  The  Cathedral 

PECHSTEIN,  MAX 

227  Somali  Dance 

228  The  Hunt 

229  Head  of  a Fisherman 

230  Portrait 

PHILIPP,  MARTIN 

231  Macaws 

232  Orange  and  Blue  Macaw 

233  Diana 

234  Maenad 

235  Cranes 


27 


The  City  Art  Museum,  St.  Louis 


PICKARD,  E. 

365  Luleck 

POHLE,  CARLA 

236  Portrait 

237  Reclining  Men 

238  Women  with  a Child 

239  Dorr.LE  Portrait 

240  Portrait  of  a Lady 

POTTNER,  EMIL 

241  SoMAiERTAGE  iM  Geflugeliiof.  With  twenty  litho 

graphs  and  text  by  E.  Pottner. 

PREETORIUS,  EMIL 

242-245  Lithographs  from  a Portfolio  of  Ten  Plates 


PRETZSCH,  MORITZ 


246 

Birches 

247 

The  Mill 

248 

Night 

RATH,  HEINE 

249 

The  Z winger,  Dresden 

250 

Skariosa  on  the  Window-sill 

251 

Versailles 

252 

Pont  Royal 

253 

Still  Life 

254 

Skariosa 

255 

Petit  Trianon 

REHN,  WALTER 

256 

The  Fool 

RICHTER-BERLIN,  H. 

257 

Woodcut  from  “Der  Sturm” 

ROLLIUS, 

CHARLOTTE 

258 

Geraniums 

259 

Landscape 

260 

Primula  and  Apples 

261 

Still  Life 

28 


An  Exhibition  of  German  Graphic  Art 


ROSLER,  WALDEMAR 

262  Six  Lithoorapiis  of  the  Environs  of  Berlin 

SCHARFP,  EDWIN 

263  Horsemen 

SCHINNERER,  ADOLF 

264  The  Mountain  Picnic 

265,  266  From  the  cycle  of  “Samson” 

SCHNEIDER,  GUSTAV 

267  San  Gimignano 

268  Florentine  Landscape 

SCHOLTZ,  ROBERT 

269  On  the  River 

366  Harbour — S.  Margherita. 

SEGAL,  ARTUR 

270  Lotos.  Woodcut  from  “Der  Sturm” 

SLEVOGT,  MAX 

271  Giant  and  Dwarfs 

272  D’Andrae  as  Don  Juan 

273  Witches’  Dance 

274  D’ Andrade  as  Don  Juan.  The  Champagne  Song — I 
274a  Declaration  of  Love 

275  Struggle  with  a Panther 

276  Struggle  with  a Tiger 

277  Self-portrait 

278  Nymph  and  Faun 

279  Farewell 

280  Works  of  James  Fenimore  Cooper.  Translated 

into  German.  Illustrated  with  many  litho- 
graphs by  Max  Slevogt 

STERL,  ROBERT 

367  Breakfast-table 

368  Nikiscii 

369  Astrachan 

370  Return  from  the  Field 


29 


The  City  Art  Museum*  St.  Louis 


STRUCK, 

HERMANN 

281 

The  Longfellow  House,  Cambridge 

282 

New  York  Harboi; 

283 

Book-plates 

284 

Jew  of  Jaffa 

285 

Jerusalem 

286 

Gerhart  Hauptmann 

287 

Schierke  in  Winter 

288 

Jewish  Beggar 

289 

The  Talmudist 

290 

From  the  Venice  Set 

STUCK,  FRANZ  VON 

291  Pan.  Cover  design 

TAPPERT,  GEORG 

292  The  Clown 

THIELMANN,  WILHELM 

293  To  THE  Christening 

294  Old  Man  Resting 

295  Village  Dance 

THIEMANN,  CARL 

296  Anemones 

297  Amaryllis 

298  Clivia 

THOMA,  HANS 

299  The  Violinist 

300  Gardone  di  Sopra 

301  Christ  and  Nicodemus 

302  The  Protector  of  the  Vale 

303  Christ  and  the  Woman  of  Samaria 

304  Spring  Landscape 

305  Lago  di  Garda 

306  Landscape  at  Happacii 

307  Storm  Clouds 

308  The  Archers 

309  The  Voyage 

UHL,  JOSEF 

310  Self-portrait 

311  A Little  Girl 

312  Peasant  Funeral 


30 


An  Exhibition  of  German  Graphic  Art 


VOGELER,  HEINRICH 


313 

The  Seven  Ravens 

314 

Spring 

315 

In  May 

316 

NYxMPH 

317 

“Barkeniioff” 

318 

A Fairy-tale 

319 

The  Blackbird 

320 

A Night  in  March 

321 

The  Frog’s  Bride 

322 

The  Fisherman 

323 

The  Stork 

324 

At  Noon 

325 

The  Lark 

326 

The  Annunciation 

WOLFSFELD,  ERICH 

327 

A Game  of  Chess 

ZEISING, 

WALTER 

328 

Hamburg  Harbor 

329 

Place  S.  Michel 

330 

Dresden  : Terassenufi 

COLLECTIONS  NOW  INSTALLED  IN  THE  ART  MUSEUM 


CURRENT  SI»ECIAI.  EXHIRITIONS 

Exliibitioii  of  Contemporary  (iermaii  Grapliie  Art,  tjalltiries 

25.  26,  30  and 31 


OTHER  INSTALLATIONS 


I’aiutings  lent  by  Mr.  George  B.  Leighton gallery  14 

Paintings  belonging  to  the  \V.  K.  Bixby  American  Art  Acquisi- 
tion Foundation gallery  15 

Other  paintings,  in galleries  16,  6,  7,  14,  15,  18,  19,  23  and  28 

Drawings  and  sketches galleries  4,  5 and  9 

Etchings  by  Joseph  I’ennell,  N.  A gallery  27 

Arundel  prints,  of  masterpieces  of  painting gallery  1 

Greek  Sculpture galleries  17  and  24 

Roman  and  Renaissance  sculpture gallery  8 

and  northwest  alcove  of  central  sculpture  liall. 

Modern  sctilpture,  principally  installed  in  the  central  sculpture  hall 
Antique  and  classic  bronzes,  installed  decoratively  in  various  galleries 

Egyptian  and  Assyrian  antiquities,  including  sculpture gallery  21 

Medallions  in  cases gallery  1 

Japanese  and  Chinese  Art,  chieliy  in galleries  10  and  11 

■ also galleries  13  and  1 

Metal  work,  chiefly  in gallery  29 

also galleries  15  and  1 

Pottery,  etc.,  chiefly  in gallery  13 

Glass '. galleries  13  and  20 

also galleries  21,  23,  20,  1,  6,  7,  etc. 

St.  Elizabeth  Mosaics,  presented  by  Mr.  Adolphus 

Busch,  1905 central  sculpture  hall 

Fabrics,  etc.,  chiefly  in galleries  29  and  10 

also  in  Indian  and  other  collections. 


American  Indian  Handiwork— 

The  Dyer  Collection galleries  5,  4 and  9 

The  Andrews  Collection  and  other  exhibits galleries  6 and  7 

Central  American  Antiquities  (Expedition  of  the  St.  Louis 

Society  of  the  Archaeological  Institute  of  America) gallery  12 

Architectural  models,  etc galleries  17  and  8 

and  central  sculpture  hall 


GETTY  CENTER  LIBRARY 
3 3125  00594  0933^^^^^^^^^ 


|>  Y application  to  the  Secretary, 
^ Catalogues  of  the  Special 
Exhibitions  for  the  entire  year 
will  be  forwarded  by  mail  upon 
the  payment  of  one  dollar. 


